User Reviews

Welsh-born Ray Milland was one of the greats of the Hollywood Studio system.

Able to wear a tux with the best of them in a screwball comedy, he made some fine horror movies in "Alias, Nick Beale" and "The Uninvited." Then there's his turn in the faux-Hitchcock thriller "Ministry of Fear" from the Graham Greene novel. And, ultimately, "The Lost Weekend," his Oscar-winning logical extension of his screwball personality.

Then Milland got old and fat, doffed his toupee, and started playing crusty old codgers. We can see why Cary Grant retired rather than take this route.

Apparently, the charm Milland exuded in his younger days went with his toupee.

Milland isn't in this show enough. Instead, we get Patrick Duffy doing comedy and Robert Reed looking devious. Duffy shows what was missing from the guys in "Toni's Boys": a personable quality. He nails Kelly and came in a pussy's whisker of doing the same to Kris. Well, Kris is the type for romance. I'd love to give her the wine and candlelight treatment.

Anyway, the story: Milland sends Duffy with papers proving he (Milland) is Kelly's long-lost Dad. But is he? And who wants to stop her from claiming his fortune?

Rather than bedding down with Duffy, Tiffany looks into the matter. It's a two-parter and everything is resolved in part II. Fine ending to the fourth season.

As far as reviewing the whole story, there seems little point as it is just another typical Charlie's Angels plot.

However, there is one scene where Patrick Duffy, who is a private detective in the story, and Jacklyn Smith get caught in a rainstorm whilst driving a small convertible car. They stop about thirty metres from a large open-fronted barn and futilely attempt to put up the hood of the car rather than simply drive it into the barn. Then, eventually, they both run into the barn anyway.

I sure as hell wouldn't engage anyone that stupid as a private detective!